Trumpet, Arranger Canadian Brass
About this site:
TrumpetChrisBlog.com is the official blog of Canadian Brass trumpeter, Chris Coletti. It’s intended as a resource for anyone interested in becoming a top performer.
Internationally acclaimed trumpeter Chris Coletti, most known for his work with the legendary Canadian Brass (2009-2019), is a soloist, chamber music/orchestral musician and Assistant Professor of Trumpet at the prestigious Ithaca College. Comfortable in many musical styles, Coletti has collaborated with musicians ranging from the Metropolitan Opera Brass, New York Philharmonic Principal Brass, Pierre Boulez, Michael Tilson Thomas and Ricardo Muti to Quincy Jones, Carlos Santana, Gloria Estefan and Miami Sound Machine. Chris also performs on the Baroque Trumpet with various early music ensembles in and around NY. Chris regularly performs with NOVUS NY, the all-star contemporary music orchestra of Trinity Church Wall Street in Manhattan.
With Canadian Brass, Chris has performed hundreds of concerts in the finest concert halls in the world, countless live TV appearances and radio broadcasts, and regularly appears in front of major symphony orchestras. Chris can be heard on 9 Canadian Brass recordings, most of which feature his original arrangements, and countless other recordings and music videos with world-class artists. Chris got his professional start in 2008 as Principal Trumpet of The Huntsville Symphony Orchestra in Alabama, a position he still holds. As an educator, Chris has taught master classes at top conservatories around the world, and his students have won positions in professional orchestras and have been accepted into top music programs including Manhattan School of Music, McGill University and Tanglewood. Chris’s articles have been featured in notable publications such as the International Trumpet Guild, International Trumpet Guild Youth Journal, SONIC – Magazin fur Holz – und Blechinstrumente (Germany) and The Brass Herald (England), and have been translated into German, Spanish, and Japanese. Chris has been a featured guest on many music performance and music business podcasts, and maintains a popular blog and email newsletter for trumpeters and other musicians.
Chris received his Masters Degree from The Juilliard School and his Bachelors Degree from Manhattan School of Music. Throughout his education Chris received multiple awards and scholarships, and won a number of competitions including the Music Academy of the West Chamber Concerto Competition, Manhattan School of Music Concerto Competition, LaGuardia Arts Concerto Competition, Staten Island Symphony Concerto Competition, The Tanglewood Music Center Charles E. Culpeper Foundation Fellowship and Susan B. Kaplan Fellowship, The Juilliard School Frieda and Harry Aronson Scholarship, and The Manhattan School of Music President Scholarship. Among his numerous accolades, Chris also has perfect pitch, is a professional whistler, and has the unique ability to sing an operatic high C.
“Statement of Teaching Philosophy”
Music is an art, a social art, one that is extremely rewarding from the first moment we experience it. As an educator, I find the most fascinating thing to be uncovering what makes each student tick–what drives them, what musical and career goals will make them feel fulfilled. Motivation comes in a variety of ways, and we teachers have in a uniquely influential job: to identify a student’s strengths and passions and turn them into a powerful and positive driving force in their life.
Positively influencing a student’s direction and focus starts with holding the student to his/her own unique highest standard at all times. Teachers must make listening suggestions (recordings and live performances) that develop these standards. The teacher’s effectiveness rests on his/her ability to demonstrate at the highest level. When I teach, my goal is to exhibit a full mastery of playing for the student to imitate.
I encourage my students to think like entrepreneurs. More specifically, a good student learns to notice, create and capitalize on opportunities. Performance experience is of utmost importance. Most of the fears and weaknesses that are common amongst music students — stage fright, lack of focus and lack of confidence in performance situations — are effectively remedied by performing often. The 21st century musician must take control of his/her own career and learn to create opportunities for themselves. At Brooklyn College Conservatory where I co-teach the Brass Ensemble, this approach has grown the group into a gigging ensemble that frequently performs at school functions, nursing homes and public spaces. These are events that the students learn to largely organize themselves. Education majors benefit from concertizing just as much as performance majors do; after all, they are the ones that are typically working directly after graduation, whether it be as conductor of their school band, speaking to a classroom, or lobbying for funding.
As a brass player, our sense of pitch is extremely important. Our skill level is defined, quite literally, by our ability to accurately imitate the sound and pitch in our imagination. This is the case when reading music as well as when playing by ear: we see the music, hear it, then imitate. One can not skip step two. Our confidence, therefore, rests on our ear training. I was not born with perfect pitch, but I have it; it is learnable. I strive to teach all of my students at least some level of abstract pitch recognition for one reason alone: confidence.
We humans are fantastic learners. Early in life we are able to learn numerous complex tasks stress-free.However, as we grow older, learning can become less natural, more forced and more difficult. This does not have to be the case. It goes against our very nature! In summation, my goal as a teacher is to encourage effortless, natural learning to help bring my student’s dreams to life.